Poetry. ZITHER & AUTOBIOGRAPHY is comprised of two parts: the author's autobiography and a book-length poem entitled "Zither." Both parts of the book are concerned with facts and their undoing. In AUTOBIOGRAPHY, Scalapino explores her shifting memories of childhood--especially of years spent in Asia--experimenting with the memoir form to explore how a view of one's own
Poetry. ZITHER & AUTOBIOGRAPHY is comprised of two parts: the author's autobiography and a book-length poem entitled "Zither." Both parts of the book are concerned with facts and their undoing. In AUTOBIOGRAPHY, Scalapino explores her shifting memories of childhood--especially of years spent in Asia--experimenting with the memoir form to explore how a view of one's own life develops, how "fixed memories move as illusion." ZITHER opens with a unique narrative that the author describes as "samurai film as Classic Comic of Shakespeare's King Lear (without using any of Shakespeare's language, characters, or plot)." Creating a complex spatial soundscape, the poem works formally to allow continual change of one's conceptions while reading. The juxtaposition of the two parts and the connection between them is "the anarchist moment. disjunction itself," a key concept in much of Scalapino's work.
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Leslie Scalapino’s been on my mind a lot lately. I’ve admired the seriousness and dedication apparent in her work for years, but my mind just doesn’t work like hers. Consequently, as often happens in these cases, I’ve tended to take her
sui generis
explorations of time, memory, and the experience of subjectivity as prescriptive, even admonishing, like I ought to be experiencing the world that way myself.
Somehow
Zither & Autobiography
helped get me over that hang-up. It couples a fairly acce
Leslie Scalapino’s been on my mind a lot lately. I’ve admired the seriousness and dedication apparent in her work for years, but my mind just doesn’t work like hers. Consequently, as often happens in these cases, I’ve tended to take her
sui generis
explorations of time, memory, and the experience of subjectivity as prescriptive, even admonishing, like I ought to be experiencing the world that way myself.
Somehow
Zither & Autobiography
helped get me over that hang-up. It couples a fairly accessible, straight-up narration written for Gale Research with a poetic “commentary” on the prose half that sort of writes through King Lear (“he hath ever but slenderly known himself”) to explore themes familiar from Scalapino’s other work: the slips and stutters of consciousness as it works to locate itself in the evanescent present. Together, the two contrasting texts make a diptych that highlights the strengths and limits of both approaches to narrating the story of one’s life, or even puzzling out which of the multiform pulses of consciousness count as “one’s” “life.”
The notes say that Gale rejected the prose section for being too weird, but if you’re familiar with Scalapino’s poetry, it helps to locate some of her philosophical and political commitments among her relationships within an exceptional academic family whose trips to East Asia inflect her heightened alertness to dislocation, the artifice of normative linguistic conventions, and Buddhistic insight. A great way in if you’re looking to get experienced with Scalapino’s work.
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